In the Observer, Luke Jennings reviews the Monday, July 28, 2014 performance of "Romeo and Juliet" with Diana Vishneva and Vladimir Shklyarov in the leading roles and the Tuesday, July 29, 2014 performance with Viktoria Tereshkina and Xander Parish.

“And an Odette/Odile from Oxana Skorik of fine-drawn beauty. She possesses exquisite line – eloquent for Odette; dazzling for Odile – and an intriguing air of mystery, of an inner passion. I thought her fascinating.”

“And an Odette/Odile from Oxana Skorik of fine-drawn beauty. She possesses exquisite line – eloquent for Odette; dazzling for Odile – and an intriguing air of mystery, of an inner passion. I thought her fascinating.”

Buddy thanks for finding and sharing that incredible clip! I know the naysayers who may have seen Skorik early on, when she was thrust into the 2012 tours unprepared, will have trouble believing it, but they will have to see for themselves rather than living in the past. Mr. Crisp's word, as we all know, is the golden standard, the acid test for any ballerina. This proves what I've been saying for the past year or more, regarding the vast strides Skorik has made in her dancing. She has always had beautiful lines but her dramatic presentation has grown immensely as has her stamina and strength. I'm so pleased to hear that another critic has recognized her growing professionalism!

In the Telegraph, Sarah Crompton reviews the Saturday, August 2 matinee of "Swan Lake" with Yulia Stepanova and Xander Parish as well as the Monday, August 4, 2014 performance with Uliana Lopatkina and Evgeny Ivanchenko.

Catherine, I totally agree that Oxana Skorik is worthy of all the praise that she can get.

Thanks, Francis, for listing the many reviews. Here’s another one from bachtrack. Am I singling out Oxana Skorik for highest praise? Yes, because I think that she really deserves it. The London press seems quite impressed with the Mariinsky’s Swan Lake and is very complimentary towards the dancers. Kimin Kim has become a revelation. Xander Parish is also receiving huge attention and much praise.

"The performance as a whole was spellbinding. What made this three hour ballet gripping was the completeness of it all.

"Skorik's Odette and Odile were sweet and sharp respectively and her journey in the performance was believable and entirely magical. When she arched her back and extended her legs, Tchaikovsky's music came to life. Her limbs whistled onstage and matched Askerov's masculine presence. His lifts and attentive partner work allowed for seamless transitions which highlighted an enchanting chemistry."

The London writers have a difficult job. Like us all they have an interest in having the theatres filled, so they have to be very subtle with their criticism so that it's understated, almost between the lines.

The Guardian compares Skorik's "eloquence" favorably to Timur, but sets the bar low, as, "he rarely convinces us of the life-and-death stakes of Siegfried's story." The writer then makes subtle digs about Skorik's musicality and acting: "Yet it's an eloquence that remains close to the surface, embodied in the decorative manner of her dancing rather than in the deeper rhythms of a dramatic interpretation." Her final comments damn Skorik with faint praise: "Skorik is potentially a very interesting artist, but the full scope of her talent seems waiting to be released."

The Independent is no kinder. Given her well-known tendency to fall off pointe, the first comment about Skorik is particularly telling: "Oxana Skorik was distinctive but not yet secure as Odette-Odile." After referring next to her "remote and even frosty persona", the writer also criticises her acting and technical ability - ".... Skorik needs to project the ballet’s mood, to bring us into the world of an enchanted princess longing for freedom. She seems more interested in cutting to the end of a step than in shaping and developing it. Her legs reach sky-high, but she needs more power through the body." Again, her shakiness is highlighted: "Her vampy solo had some shaky moments....."

The Independent is no kinder. Given her well-known tendency to fall off pointe, the first comment about Skorik is particularly telling: "Oxana Skorik was distinctive but not yet secure as Odette-Odile." After referring next to her "remote and even frosty persona", the writer also criticises her acting and technical ability - ".... Skorik needs to project the ballet’s mood, to bring us into the world of an enchanted princess longing for freedom. She seems more interested in cutting to the end of a step than in shaping and developing it. Her legs reach sky-high, but she needs more power through the body." Again, her shakiness is highlighted: "Her vampy solo had some shaky moments....."

what was shaky about it? How was it shaky? There are no examples given.

"well known tendency" to fall off pointe?

Fact: For calendar year 2014, I've watched Skorik here in St. Petersburg, where I have been based, since the start of March. I've not once seen her fall off pointe here in 2014.

The Independent is no kinder. Given her well-known tendency to fall off pointe, the first comment about Skorik is particularly telling: "Oxana Skorik was distinctive but not yet secure as Odette-Odile." After referring next to her "remote and even frosty persona", the writer also criticises her acting and technical ability - ".... Skorik needs to project the ballet’s mood, to bring us into the world of an enchanted princess longing for freedom. She seems more interested in cutting to the end of a step than in shaping and developing it. Her legs reach sky-high, but she needs more power through the body." Again, her shakiness is highlighted: "Her vampy solo had some shaky moments....."

what was shaky about it? How was it shaky? There are no examples given.

"well known tendency" to fall off pointe?

Fact: For calendar year 2014, I've watched Skorik here in St. Petersburg, where I have been based, since the start of March. I've not once seen her fall off pointe here in 2014.

How many classical ballets have you seen Oxana Skorik perform in 2014?

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